The feature gives listeners a way to save short sections from podcasts and send them to friends or post them on social media without searching through an entire episode.

Spotify said the rollout has started globally for both free and Premium users on mobile devices, while support for more shows will expand gradually.

Users will now see a scissors icon in the “Now Playing” screen while listening to supported podcasts. Once tapped, the tool allows them to capture a segment, trim it, preview it and either save or share it immediately.

Spotify also explained that listeners can share a full episode, chapter, timestamp or a clip through the updated sharing menu. Saved clips will also appear in a dedicated section inside the user’s library and can be added to podcast playlists.

The feature builds on the growth it has already seen with podcast Chapters, which launched earlier this year. According to Spotify, Chapters are now being saved and added to playlists more than two million times every month.

The update also shows how podcasts are becoming a bigger source of news, interviews and online discussions, especially in the technology industry where company executives appear on podcasts instead of traditional interviews.

Spotify believes clips could help podcast creators attract new listeners by making key moments easier to discover and circulate online. The company said early testing showed that podcast saving activity increased when clips were enabled.

In a statement announcing the launch, Spotify said: “Whether it’s a piece of advice that reframes how you think, a conversation that makes you laugh, or a segment you know a friend needs to hear, those moments are often what turns a casual listener into a devoted fan.”

“With clips, listeners can now capture, revisit, and share the exact moments from podcasts that resonate most, without having to search through an entire episode to find them,” the company added:

Spotify also noted that users can access the feature by tapping the scissors icon while listening, trimming the audio segment they want, then choosing to save or share it through the app’s sharing options.

The programme, implemented in partnership with the School of Media and Communication, Pan-Atlantic University, continues to serve as a platform for equipping journalists, broadcasters, and digital content creators with the skills, exposure, and mentorship required to thrive in today’s evolving media ecosystem.

This year’s fellows were selected from a highly competitive pool of applicants across print, broadcast, digital media, and content creation, reflecting the programme’s growing reputation and influence within the industry.

In commemoration of the techo’s 25th anniversary, the cohort has been expanded from 20 fellows in previous editions to 25 for the year.

Speaking on the first day of the programme, Tobe Okigbo, Chief Corporate Services and Sustainability Officer, MTN Nigeria, described the initiative as a reflection of the company’s commitment to innovation, partnership, and continuous learning.

“At MTN Nigeria, innovation, insight, knowledge, skills, and partnership matter deeply to us. The Media Innovation Programme represents all these values – a partnership not just with Pan-Atlantic University, but with every fellow.

“This programme is an adventure in learning, one that challenges participants to reconsider assumptions, revise opinions, rethink ideas, and ultimately grow both professionally and personally,” he said.

Also speaking during the session, Dr. Ikechukwu Obiaya, Dean, School of Media and Communication, Pan-Atlantic University, encouraged the fellows to recognise the programme as more than a professional milestone, describing it as a transformative experience designed to prepare them to make meaningful contributions to the media industry and society at large.

“The media space today faces significant challenges, and this programme equips participants not just for personal development, but to make a real difference. Beyond skills and exposure, we place strong emphasis on values such as truth, honesty, ethics, and responsibility to society. We hope that every fellow leaves this programme better prepared to contribute significantly to the future of media,” he said.

The selected fellows for the fifth cohort include:

1. Agbetiloye David Adekunle (Senior Reporter, Business Insider Africa)
2. Adeniyi Fatima Adetoke (Content Writer, NotJustOk)
3. Adetola Kayode (State House Correspondent/ News Anchor, Lagos Television)
4. Ajibola Tolulope (Presenter, Silverbird Television)
5. Aliyu Usman (Assistant Chief Correspondent/ Editor, News Agency of Nigeria)
6. Augoye Jayne (Arts, Entertainment and Culture Editor, Premium Times)
7. Auwal Muhammad Ibrahim (Senior Editor, Halal Reporters)
8. Collins Christopher (Programmes Producer, News Central Television)
9. Dan-Ikpoyi Veronica (Senior Anchor, TVC Communications)
10. Dike Chiamaka Patricia (Broadcast Journalist, BBC News)
11. Eluemunoh David (Digital Content Creator)
12. Eseimokumoh Denise Loliaba (Editor-in-Chief, Marie Claire Nigeria)
13. Fosudo Oluwafisayo (Digital Content Creator)
14. Godfrey Progress (Reporter, Vanguard Media Limited)
15. Itiafe Glory Ugonma (Broadcast Journalist, Diamond 88.5 FM)
16. Kasali Segun (ICT Correspondent, Nigerian Tribune);
17. Ofonedu Sarah (On-Air Personality, Inspiration FM)
18. Okamgba Justice (Reporter, The Punch)
19. Onwuka Emmanuel (Presenter & Executive Producer, Nigeria Info FM)
20. Oyesanmi Ifeduyi (Managing Editor, TechCabal)
21. Sabastine Emmanuel (Sports Commentator, Team 33 Production)
22. Taiwo Kafilat (Data Journalist, Media Trust Group)
23. Thomas-Odia Ijeoma (Editor, The Guardian Woman, The Guardian)
24. Ugwu Amarachukwu Deborah (On-Air Personality, Rhythm 93.7 FM PH) and
25. Ukachukwu Nneka (Editor/Producer, Voice of Nigeria).

Over the years, the MTN Media Innovation Programme has grown into a leading media fellowship in Nigeria, providing participants with access to industry experts, structured mentorship, hands-on learning experiences, and global best practices in media and communication.

The six-month programme commenced on Monday, May 18, 2026. During this period, the fellows will receive intensive education focused on media innovation, digital transformation, strategic communication, storytelling, and leadership development both in Nigeria and during their one-week study visit to South Africa.

MTN reiterates its commitment to supporting journalism and advancing media excellence in Nigeria, while empowering professionals who continue to shape important conversations across the continent.

The company said eligible users will get free access to DStv Stream Compact from April 1 until the end of May. After that, they can continue at R99 ($5.90) a month for 12 months. The standard price is R299 ($17.83).

The offer is aimed at keeping viewers as Showmax closes on April 30. From that date, all content, including Showmax Originals, will sit on DStv Stream.

Subscribers must sign up for DStv Stream, create a new profile and follow instructions sent to their registered email. MultiChoice said the process takes less than five minutes, but it still requires users to opt in.

That step could affect how many people make the switch. The company has not shared current Showmax subscriber numbers, so it is not known how many users may drop off.

The R99 price is lower than several competitors. It sits below Netflix’s standard plan in South Africa and includes live sport through SuperSport, which other platforms do not offer. DStv Stream also combines live TV, films, series and children’s content in one app.

Still, the discount lasts for a year. After 12 months, the price returns to R299 a month. That jump could test how many customers stay on beyond the promotional period.

The offer comes with conditions. Subscribers must keep their accounts active and payments up to date throughout the 12 months. If payments lapse, the price resets to the standard rate.

The promotion is open to Showmax users who do not already have an active DStv subscription and who pay for Showmax directly. Existing DStv Compact, Compact Plus and Premium customers are excluded, as they already have access to Showmax content on DStv Stream at no extra cost.

Customers who decide not to move can request a refund for any unused portion of their Showmax subscription. Automatic payments will stop once the platform shuts down.

MultiChoice is also using the transition to push new and returning content on DStv Stream. These include the true-crime series The People vs VBS, available from 1 April, the final episode of Die Kantoor on 14 April, and a live broadcast of the Soweto Derby on 26 April.

This is its second U.S. increase in less than two years as the company leans on higher fees to protect profits.

The change applies to current users, with the new price kicking in on individual billing dates next month. 

Spotify said affected subscribers will be notified by email before the adjustment takes effect. New users are already being shown the updated price on the company’s website.

Investors welcomed this development as shares of the Swedish streaming group climbed almost 3% in premarket trading on Thursday, trusting that the company can push through higher prices without losing too many users.

This latest increase follows Spotify’s decision in June 2024 to lift the U.S. Premium price from $9.99 to $11.99, its first rise in more than a decade. The jump to $12.99 means American subscribers will have seen prices climb by 30% in roughly 18 months.

In a message sent to customers, Spotify explained the decision. “Occasional updates to pricing across our markets reflect the value that Spotify delivers, enabling us to continue offering the best possible experience and benefit artists.”

The company also told subscribers: “Thank you for being a valued Premium subscriber. Starting on your billing date in February, your subscription price will change from $11.99/month to $12.99/month.”

Spotify stressed that premium users who are unhappy with the new price can cancel at any time or switch to other plans available through their account settings, noting that the service stays optional.

The increase is not limited to the United States. Similar increases have been rolled out across parts of Europe, South Asia and Latin America over the past two years. This shows a similar global strategy rather than a one-off response to local conditions.

After years of losses, Spotify reported its first quarterly operating profit in late 2025. That achievement eased issues about the sustainability of its business model, but it also raised expectations. To keep that momentum, the company needs more revenue per user.

Music licensing is expensive, and costs continually increase as labels renegotiate deals. At the same time, Spotify is spending heavily to expand beyond music. 

Audiobooks are being rolled out more widely, and the platform is investing in new discovery tools and recommendation features designed to keep users engaged for longer.

Subscription fees are the most direct lever Spotify can pull. Advertising helps, but Premium subscriptions still account for the bulk of revenue. From that perspective, the latest increase looks less like a gamble and more like a necessity.

Spotify is not acting alone as Apple Music, YouTube Music and Amazon Music have all increased prices in recent years, softening the risk that users will defect purely on cost. 

For many listeners, the difference between services now comes down to habit, playlists and perceived value rather than price alone.

Still, there is little room for complacency. Consumers are facing higher prices across many digital services, and tolerance for repeated increases is not unlimited. We have seen subscription fatigue set in elsewhere, and music streaming may not be immune.

The streaming company now allows creators to qualify with just three published episodes, 2,000 hours of consumption over the past 30 days, and 1,000 engaged audience members in the same period. 

A year ago, the bar was far higher, with 12 episodes, 10,000 hours of consumption, and at least 2,000 listeners in 30 days. But now, Spotify wants more creators, faster growth, and more video on the platform.

Under the programme, podcasters on Spotify can earn in two main ways. They receive a share of advertising revenue from users on Spotify’s free tier, and video creators are paid directly when premium subscribers watch their shows without ads. 

It is a model designed to reward engagement, not just reach, and it leans heavily on video as the next growth engine.

Spotify says the strategy is already changing how people use the app. “Since launching the program, monthly video podcast consumption on Spotify has nearly doubled,” said Roman Wasenmuller, Spotify’s global head of podcast, during a media briefing. “The average Spotify podcast user streams twice as many video shows per month as they did before the launch.”

YouTube tops the video podcasts space, Netflix owns premium video, and Spotify is trying to sit somewhere between both. Lowering the thresholds brings in smaller and mid-sized creators who may have been locked out before, especially those producing niche or long-tail content.

The company is also rolling out new sponsorship tools in April. These will let creators manage host-read ads more easily, from scheduling and updating placements to tracking performance. The tools will be available through the Spotify for Creators app and Megaphone, its podcast hosting and monetisation service.

Beyond in-app changes, Spotify is opening up its ecosystem. A new application programming interface will allow creators to publish and monetise video podcasts on Spotify directly from third-party hosting platforms. 

At launch, services such as Acast, Audioboom, Libsyn, Omny and Podigee have adopted the API. This is important because it removes limitations. Creators no longer need to rebuild their workflow just to earn on Spotify.

The development is backed by money and scale. Spotify says it has invested more than $10 billion in the podcast industry over the past five years, covering creator payments, infrastructure and tools. 

In the first quarter of 2025 alone, payouts to podcasters reached $100 million. By late 2025, the platform hosted close to 500,000 video podcasts, double the number recorded in mid-2024. About 390 million users streamed video podcasts that year, a 54% rise year on year, with time spent on video more than doubling.

Physical infrastructure is part of the plan too. In January 2026, Spotify opened Sycamore Studios in West Hollywood, a video-first podcast studio that will serve as a base for The Ringer network and be available to selected creators in the partner programme. 

The company already runs studios in Los Angeles’ Arts District, New York, Stockholm and London, offering professional spaces without the cost of private rentals.

The pilot, called Instagram for TV, is launching on Amazon Fire TV devices in the United States, going beyond phones and tablets.

The new app is built almost entirely around Reels. Once signed in, viewers are met with personalised streams of videos arranged into channels such as music, comedy, sports, travel and trending moments.

Clips play automatically, one after the other, removing the need to scroll endlessly. You can still skip, like a Reel, check comments or re-share content, all from the TV interface.

This is necessary because television is no longer limited to long shows and films. We are seeing a fight for attention on the biggest screen in the house, and Instagram wants a seat at that table.

YouTube already dominates TV viewing, while TikTok is widely reported to be working on a similar product. Instagram’s answer is to make couch-watching feel closer to flicking through channels than swiping a phone.

Personalisation sits at the centre of the experience. The TV app pulls from the same signals as the mobile version, showing creators and topics you already follow or engage with.

Reels are grouped into themed collections, making it easier to explore interests without searching for individual accounts. A search tool is also built in, allowing users to find creators, browse profiles and dive into specific topics.

Households are not locked into a single profile. Instagram for TV supports up to five accounts on one device, so different viewers can switch between their own recommendations. There is also the option to create a separate account purely for TV viewing, keeping it distinct from a personal mobile feed.

Meta has been careful to draw a line between this launch and its earlier, abandoned experiment. Instagram for TV is not a return of IGTV, the long-form video app that was shut down in 2022. This is a focused bet on short videos, designed specifically for television habits rather than stretched from mobile.

The idea itself has been brewing for months. Speaking in October, Instagram boss Adam Mosseri openly acknowledged that the company was late to the space. “We’re exploring TV,” Mosseri said at Bloomberg’s Screentime event.

“TV is an increasingly important surface, it’s been very important for YouTube […] it’s been very important for TikTok. So we’d like to figure out how to make sure that we show up in a compelling way on all the relevant devices.”

Amazon, which is hosting the first release on Fire TV, sees the partnership as part of a drive to turn televisions into all-purpose content hubs. “Our mission is to get you to the world’s best content fast, and we’re thrilled to welcome Instagram to Fire TV,” said Aidan Marcuss, vice president of Fire TV.

“We’re committed to keep pushing the boundaries of entertainment on customers’ biggest screens—the Instagram team has built an awesome experience, and we’re excited to be the first place to offer it. We can’t wait to see what customers think.”

For now, availability is limited to select Fire TV sticks and Fire TV televisions in the US. Meta says the rollout will expand to more devices and countries as it learns from the test. Features such as using a phone as a remote and smoother ways to jump between channels are also being considered.

Short videos will no longer be confined to small screens, and Instagram is repositioning itself for a social media that competes directly with traditional TV viewing.

The Phase 1 inquiry began on August 22, 2025, with the regulator setting October 20, 2025 as the deadline for its initial decision. 

The CMA is examining whether the merger may lead to a “substantial lessening of competition” in the United Kingdom, as provided under the Enterprise Act 2002. If serious risks are found, the case will move to a Phase 2 probe, which could delay or even block the transaction.

The deal, announced in January 2025, would create one of the most powerful forces in global stock photography, with projected annual revenues approaching $2 billion. 

Getty, Shutterstock Plan Merger to Strengthen Market Position

Under the agreement, Getty shareholders will control 54.7% of the new company, while Shutterstock investors will hold 45.3%. Shutterstock shareholders will also receive $9.50 in cash and 9.17 Getty shares for each of their holdings, subject to proration. Craig Peters, Getty’s chief executive, is expected to lead the combined entity.

In the United States, the Department of Justice issued a “Second Request” in February, pointing to more antitrust issues. Similar reviews are also underway in the European Union and Asia. Both companies have pledged to fully cooperate with regulators across all jurisdictions.

Shutterstock shareholders have already shown their support, with 82% voting in favour of the deal earlier this month. Analysts estimate that the merger could generate between $150 million and $200 million in cost savings over three years, primarily by reducing duplication and sharing infrastructure.

Beyond regulatory cases, experts warn of wider consequences. The global stock image market is valued at more than $4 billion, and Getty Images and Shutterstock together control a large slice of it even before the merger.

By joining forces, the companies plan to increase investment in artificial intelligence, improve licensing systems, and compete more aggressively against rivals such as Adobe Stock, Envato, and Unsplash.

However, not everyone is optimistic. Contributors who rely on these platforms to sell their content worry that the merger could drive down royalties, reshape algorithms that rank content, and reduce the diversity of platforms available to creators.

The CMA’s initial ruling in October will reveal how the merger proceeds. If the watchdog pushes the case into a deeper review, Getty and Shutterstock face a long road before they can unite under one roof.

This funding will go directly into film and television content creation over the next four years.

At the company’s Madrid production hub when Netflix’s co-CEO Ted Sarandos made the announcement. 

Speaking in front of Spain’s Prime Minister, Pedro Sánchez, Sarandos said: “Over the next four years we plan to invest over one billion euros in Spain. With this investment, we will be able to contribute even more to the Spanish economy, create more Spanish jobs, tell more great stories made in Spain.”

Sarandos had made a similar declaration earlier this year regarding content production in Mexico. With this Spanish announcement, Netflix wants to strengthen its influence across global entertainment markets through local storytelling.

The location wasn’t a coincidence either as Netflix’s Tres Cantos studio outside Madrid, now a major pillar in its European operations, tells us something. When it opened in 2019, it was Netflix’s first production facility outside the United States. 

Since then, it has grown commendably, with 10 sound stages as of 2022 and has become one of the continent’s busiest content hubs.

Spain has earned its place in Netflix’s global content portfolio. Iconic shows like Money Heist, Elite, and Society of the Snow have made waves and become cultural landmarks. 

Sarandos further stated, “Dali masks, red jumpsuits, Bella Ciao – all of them have become instantly recognisable parts of the global culture.”

He also pointed out the tangible impact: more than 5 billion hours of Spanish content have been streamed on Netflix globally. The numbers speak to how effective the platform’s partnerships with Spanish creators have been.

Netflix claims its operations in Spain already support over 20,000 jobs. With the planned investment, that figure is expected to grow, strengthening Spain’s audiovisual sector while giving global reach to local talent.

Sarandos closed his speech with a nod to Spain’s value in the global media space: “We commend Spain for its efforts and commitment to the audiovisual sector. We look forward to working with you and your teams to grow the economy, create opportunity and bring more of this beautiful, rich Spanish heritage to the world.”

The timing of this pledge coincides with Netflix’s tenth year in the country.

In order for digital media campaigns to achieve their objectives, they require the best possible chance to be effective, and this can’t happen without price transparency. 

Unfortunately, that isn’t always a given. Despite many brands being eager to embrace and execute digital campaigns, they often struggle to do so. That’s because middlemen typically levy a substantial markup on their offerings, thus limiting the digital media buying budget available to promote the actual campaign.  This does not, however, have to be that way going forward. 

Demystifying Digital 

Before looking at what brands can do to ensure that they’re receiving full value on their digital campaigns, it’s worth understanding how this situation arose in the first place. 

In part, the situation was allowed to precipitate because of expertise. When digital marketing first became viable, the leadership in most brands’ marketing teams were still strongly rooted in analogue forms of marketing. In that environment, it made sense to have people translate a brand’s creative vision for digital channels. 

That’s especially true when considering that digital marketing was a lot more complex a few years ago than what it is today. Navigating that complexity and helping a brand achieve its objectives required highly specialised skills. Those skills, in turn, came at a premium.   

Unfortunately, some of these middlemen took, and continue to take, advantage of that disconnect in understanding and complexity.

Even as brands build more digital capacity in-house and most media owners have made marketing as simple as possible, many in the digital media buying space especially continue to charge high markups. As long as middlemen keep convincing marketers that they need to pay these markups, they’ll keep charging them.

As more and more people across the African continent come online (Nigeria alone is set to add another 35 million internet users by 2026), marketers risk spending far more budget to reach their target audiences.             

It’s therefore critical that marketers understand there are alternatives.  With the right approach, it’s possible to ensure their entire digital media buying budget is spent promoting their digital media campaigns. 

Trading in markups for price transparency 

The best way for brands to ensure this is to only work with credible media buying companies that practise price transparency. They should ideally look for a media buying partner that does not apply a markup to their promoted media. That way, brands can ensure they have peace of mind that they are purchasing media at the best possible price.

But transparent pricing isn’t the only thing that brands should look for in a media buying agency. It’s also important that they work with one that can give them an effective marketing presence on the digital platforms most relevant to their target markets.

It’s additionally important that brands select a company that understands Africa is both vast and diverse. Ideally, it should have dedicated teams in key markets, giving the client access to locally relevant viewpoints and insights.

The media buying agency should also have teams educated and skilled in the best practice of each platform.    

By taking this approach, brands can ensure they’re getting maximum returns from their digital marketing efforts at the best possible value. 

Building for Africa’s digital marketing revolution 

There’s absolutely no doubt that Africa’s digital connectivity revolution is fostering a secondary, digital marketing revolution.

According to Statista, digital advertising spend in Africa is currently valued at US$3.19 billion. Two years ago, it was valued at US$2.09 billion and by 2027, it’s expected to be worth US$4.53 billion. By any measure, that’s significant growth. 

But if brands are to realise the full benefit of this growth, price transparency will be critical.